An Aussie producer in New York (Part One)

Steven Brandon has worked extensively in Australia as a producer of independent theatre. For the past six months, he's been living in New York thanks to the Green Card lottery, and now he's writing for AussieTheatre.com....

Yep, it’s true. Six months ago I packed up and moved to the Great White Way to see what this ‘Broadway’ thing was all about.

For three years I had been running Canned Laughter with my cousin Josh and after successful seasons of Noises Off, I Love You…You’re Perfect…Now Change!, Urinetown: The Musical, Tick…Tick…Boom!, Rent, Closer and Lend Me a Tenor – it was time for a new challenge.

I arrived in late February in the midst of winter – put my gloves and scarf on and headed to the Theatre District.

The thing about Broadway is that – in Sydney/Melbourne there are about a half dozen theatres spaced out over the city - on Broadway there are six theatres - per street!

Now Broadway is actually just the name of a street that runs the length of Manhattan. The Theatre District is between 42nd & 53rd Street and it holds about 40 theatres. For a show to be a ‘Broadway’ show – it just has to be in a theatre that holds more that 499 people. Anything with 101-499 seats is considered ‘Off-Broadway’. 100 seats or less and you are ‘Off-Off Broadway’ – even in Brooklyn you’re ‘Off-Off Broadway’!

Within my first 90 days, I had been to the theatre about 45 times plus a theatre conference, The Lucille Lortel Awards (The Off-Broadway Tonys) and the actual Tony Awards too!

Here are a few things I learnt in that time…

Lesson #1: How to get a producing job on Broadway

a) Know someone. Get in because you have a connection.
I've met a few bigwigs and a bunch of small time fish. The big wigs think I'm great and will do fine - but have no jobs. The small time fish are too busy trying to keep their jobs to help me. Most of the BIG production companies - only have like four people working in each office!

b) Put on your own show - do it right - and get noticed and poached.
There are 100's of theatres and hundreds of small time companies putting on shows. New York is full of actors wanting to get noticed – so they’ll work for free. Just get your self a good publicist – because with SO many theatres, there’s a heap of competition.

c) Find someone with a lot of money to invest in a show
In this business – money talks. If you have a million dollar investor – you’ll get your name about the title – no experience necessary!

d) Start working at the very bottom of a company and work your way up.
This seems to be the path I'm on. I met with a theatrical recruiter today who said my resume was too good. The only way to get in was to start as an 'executive assistant' - which is a glorified secretary. The only way to get that job is show you've been answering phones and scheduling meetings for years. Only then - after working in that role - for 3, 6, 12 months - you'll get noticed and promoted.

So I changed my resume - demoted myself - and took away all my management positions and high salary expectations and before you know it I was temping a various theatre/movie companies including the Theatre Communications Group, Focus Features and The Weinstein Company.

Essentially the Broadway business is very small – it’s a unique fraternity and everyone knows everyone. Open a door and get in. How long you stay – depends on your latest venture – because you’re only as good as your last credit.

Lesson # 2: How to get an acting job on Broadway

Well once you’ve scammed yourself a work permit (that’s a whole other story) you begin the endless rounds of auditions. But to really be seen you need to be in the union.

Actors' Equity Association (AEA) is the US version of the MEA. To join the union you’ll need get employment under an Equity contract. However, Equity shows only really hold auditions for Equity members – the inevitable catch 22!

But what happens is, during equity auditions, if there is spare time at the end of the day OR an equity member with an appointment doesn’t show – they will see non-equity members. So you’ll have to be at the call ALL day – 8-10 hours ready to pounce on an available spot.

If you have an agent they’ll help you get auditions too – but it’s rare for agents to represent actors not in the union!

I recommend you go to Amazon.com and purchase the book “Making It on Broadway: Actors' Tales of Climbing to the Top” by David Wienir and Jodie Langel. It gives terrific first-hand insight into the many trials and few triumphs of the Broadway actor.

Someone the other day asked me "Why is it that film/TV actors can be such assholes and prima donnas but theatre people are so nice?"

Well - I'll tell you the answer:

Broadway theatre actors are only famous when they walk about the stage door. The fans are there wanting autographs and pictures. But when they leave, the theatre actor walks away and gets the subway home like everyone else. They are only famous in a two mile radius of their theatre.

Plus working in theatre is not all glitz and glamour. Most of the theatres are run down - dressing rooms, with pipes everywhere - and the pay isn't great. People who work in theatre do the job for the love of it. It's an honour just to be working! Hollywood is where you have trailers and catering and money! There's where actors develop an attitude.

With film/TV your performance is preserved on tape. It becomes part of recorded history. With theatre, your performance goes into the air. Once you've finished it - it's gone... a faded memory.

Next week, we continue to follow Steven's journey in New York including his visit to the 2007 Tony Awards.